A Hodgepodge of Place Songs, Vol. 2 | Playlist

A Hodgepodge of Place Songs, Vol. 2 features songs by Barry Manilow, Feng, Jill Scott & Tierra Whack, Lady Gaga, RAYE, and TOTO.     

As defined by Merriam-Webster, a hodgepodge [noun] is a heterogeneous mixture: jumble. In the 14-song music compendium, A Hodgepodge of Place Songs, Vol. 2, the follow-up to A Hodgepodge of Place Songs (2025), I have provided a random mix of place-related songs.  The word place can be featured in the song title. But, place (the word) DOES NOT have to be featured in the title at all. A specific place is acceptable to meet the place criterion of this playlist.  Also, in several instances, anyplace is acceptable too! A Hodgepodge of Place Songs, Vol. 2  features songs by Barry Manilow, Feng, Jill Scott & Tierra Whack, Lady Gaga, RAYE, and TOTO. So, without overanalyzing or unnecessarily belaboring, let’s embrace A Hodgepodge of Place Songs, Vol. 2, shall we?!

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~ Table of Contents ~

1. Jill Scott & Tierra Whack,, “Norf Side”	2. RAYE, “Nightingale Lane.”	3. Feng, “Cali Crazy”
4. Lil Mabu, “sand in turks”	5. Lady Gaga, “Garden Of Eden”	6. Megan Thee Stallion, “Bigger In Texas”
7. TOTO, “Africa”	8. Dasha, “Austin (Boots Stop Workin’)”	9. John Lithgow, “From The Indies To The Andes In His Undies”
10. Barry Manilow, “Copacabana (At the Copa)”	11. The Miracles, “Ain’t Nobody Straight in L.A.”	12. Aretha Franklin, “Spanish Harlem”
13. John Prine,  “Angel From Montgomery”	14. Stan Getz, “The Girl From Ipanema”	PLACE Songs

 

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1. Jill Scott & Tierra Whack, “Norf Side”

To Whom This May Concern » Blues Babe Records LLC / Human Re Sources / The Orchard » 2026

Mic drop, Jill Scott! With an assist from Tierra Whack, the Grammy-winning R&B singer-songwriter drops the mean, Philly rap song, “Norf Side”. “Norf Side” is the fifth track from her sixth studio album, To Whom This May Concern. Scott, Whack, DJ Premier, and Bobby Martin penned “Norf Side.” DJ Premier produced it.

There is a lot to love about “Norf Side.”  It begins with the sickening, hard-hitting drum groove.  Adding to the instrumental excellence is one of the fattest bass lines you’ll ever hear.  Beyond the instrumental, great recurrent, rhythmic background vocals add color and ample personality to the track. Speaking of personality, Jill Scott brings plenty of it throughout the song.  It begins in the first verse, excerpted earlier, where she sounds hard-nosed as she raps, and her rhymes are impactful. “They stay chattin’ ‘bout my body on IG,” she spits, and adds, “Say I’m a mean bitch, I’m in the Illuminati / But ain’t nowhere near round here.” Tierra Whack keeps the bars coming hard during the second verse.  “These bars are nasty, when I’m spittin’ them out / And once I tell you my price, won’t take no different amount.” Ooh-wee! Like Scott, she brings a compelling cadence and flow. She concludes her verse with a bang: “Turn me to a maximum, white men, I’m stackin’ ‘em / Living like it’s golden, me and Sheila go platinum /…Pray and obey to the W-H-E-K, I’m here to stay / Norf Philly all day.” Scott sings (or quasi-sings), post-Tierra Whack, in the third and final verse (“I cut with the syllables, linguistically edible / Get real to intelligent freaks, I wax poetical, inevitable”). The recurrent “Norf Side” lyrics are fitting at the end, while Scott drops a fabulous outro (“Thank you, Tierra Whack / Thank you for F-O-Xing with a girl /… Philly all day / Each and every way”).  All told, “Norf Side” marks one of many high-flying moments from Scott’s comeback album, To Whom This May Concern. She puts her foot into this one!

 

Appears in 🔻:

Jill Scott & Tierra Whack, Norf Side: Dazzling Duets No. 10 (2026)

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2. RAYE, “Nightingale Lane.”

THIS MUSIC MAY CONTAIN HOPE. » RAYE / Human Re Sources » 2026

Ooh-wee! There you have it! RAYE (Rachel Keen) introduces “Nightingale Lane.”, the 11^th track from her highly anticipated sophomore album, THIS MUSIC MAY CONTAIN HOPE. The five-minute ballad marks the second single from the project, following up the infectious top 20 hit, “WHERE IS MY HUSBAND!”, one of the best songs of 2025. RAYE co-wrote “Nightingale Lane.” with Tom Richards and Chris Hill. RAYE and Richards produced it.

“Nightingale Lane.” begins with a drum groove, which establishes the compound duple meter. Following RAYE’s spoken word intro (excerpted above), she dives into this moving ballad. She serves up polished, refined vocals.  She’s incredibly honest during the first verse: “Was a pain that made me colder now / After the oceans I cried, I’m made of steel.” A reminiscent pre-chorus marvelously prefaces the chorus, the song’s crowning achievement. “Nightingale Lane.” delivers a unique harmonic progression and also modulates, keeping the listener on their toes.  That modulation occurs during the chorus, where RAYE delivers powerful, rhythmic, and high-flying vocals. She oozes with soul.

“Somebody loved me once

And someday, somebody will again

Like the way you love me…

On Nightingale Lane…

Although we never made it

Strange, you showed me it’s true

I’m capable of loving someone the way I loved you…”

The second verse returns to the original key, much like the first verse. Strings add lushness.  Naturally, verse two flows better since the listener gets a clearer sense of where RAYE is going. The second chorus continues the excellence of the first, with RAYE continuing to sing her face off. The bridge is even more rhythmic, leading to a powerful outro. The sustained notes that RAYE sings here are EVERYTHING! “Nightingale Lane.” shows the incredible artistry and musicianship of RAYE. “Someone will love me / Like the way you loved me / On Nightingale Lane.” Amen!

Appears in 🔻:

Striking Bops from March 2026

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3. Feng, “Cali Crazy”

Weekend Rockstar » Regularisperfect » 2026

Per Gen-Z British rapper, singer, and songwriter Feng (Travas Alan Feneley), “Every day’s a holiday I might lose my own face goin’ crazy in L.A.” Woo! Feng creates a surefire vibe on the brief but potent “Cali Crazy”, the opening track and promo single from his 2026 debut album, Weekend Rockstar. Feng wrote “Cali Crazy” with producer Bilal Hamdi.

“Cali Crazy” slaps from the jump. It features a potent drum groove, while the keys and programming are colorful and striking.  The musical accompaniment is cool, calm, and collected,  yet also rhythmic. The memorable chorus, excerpted earlier, is the first section heard.

“Every day, every day

Go insane, go insane

Throw some glitter, make it rain

‘Get high like some airplanes,’ that’s all they ever say

Every day’s a holiday

I might lose my own face goin’ crazy in L.A.”

Word. Beyond the chorus, there is only one verse.  Feng paints the stereotypical view of California, mentioning palm trees, limousines, the beach, and the fact that “Pretty girls all want me ‘cause my life a movie scene.” He adds, “Girls in my bedroom and they’re all nude, I can’t get no rest.” Ooh-wee! While he’s legally an adult, he admits, “I’m not twenty-one, but I’m still inside of the club / I’m only nineteen, fake ID, I hope I don’t get caught.” Oops! All told, “Cali Crazy” is a perfect, mellow summery bop for any season!

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4. Lil Mabu, “sand in turks”

“sand in turks” » YOUNG GENIUS ACADEMY INC. » 2026

That’s a thought-provoking line, Lil Mabu (Matthew Peter DeLuca).  The privileged rapper needs a vacation to get away from the stress: “Need to leave my home, St. Barths, here we go.” Lil Mabu wrote and produced the brief, melodic “sand in turks”. “Sand in turks” features driving, intense bassy synths. It is somewhat cumbersome, at least initially.  Mabu is assertive, confident, youthful, and carefree throughout his melodic rap performance.  “Sand” features two verses, with the first being the longest. “I need some peace of mind, God, please help me find it / I need to be on a nature vibe, booked a trip to the villa when we arrived,” he raps, and adds, “Then you managed to ruin my fucking time / And you not even here, I hate the silence (I do).”  Noted. In the second verse, matters of the heart seem to make him feel, well, some type of way. “If I could be with you forever, I’d be the happiest alive,” he asserts, concluding, “You like a Bitcoin in ‘09, rarest treasure I could find / A beauty that words can’t describe, but I’ll try.” The chorus is big, but also lengthy and only moderately catchy.

“Like the sand in Turks, you hella fine

How am I hurtin’ in paradise?

Maybe we’ll work in another life

I talk to the moon, but it don’t reply

Just like you, cause you never said goodbye

The thought of you comes back every night

Like the whip rented, you was never mine

I’m black and blue like a beach at night

Let me put on my ice.”

Lil Mabu concludes with an outro that references the villa’s cost ($20,000 per night) and continues to be haunted by her shadow. “Maladaptive vibe, outta’ sight but in my mind.” All told, “sand in turks” is just al’ight, dawg.

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5. Lady Gaga, “Garden Of Eden”

MAYHEM » Interscope » 2025

Hmm, something tells me, Lady Gaga (Stefani Germanotta), that you aren’t referencing chocolate or peppermints… Mother Monster continues singing in the first verse of “Garden Of Eden” (cough* red flag 🚩), “You started slurrin’, and I start to squeal / I’m fallin’ over in my nine-inch heels.” Yep, the third track from her seventh studio album, MAYHEM, is NOT that innocent.  It’s not innocent at all! Citing the Garden of Eden from the book of Genesis, we know things didn’t go as planned for Adam and Eve thanks to a serpent, better known as Lucifer, aka Satan 😈. Gaga, Cirkut (Henry Walter), Watt (Andrew Watt), and Gessafelstein (Mike Lévy) penned and produced “Garden Of Eden,” in all its immoral glory.

 

“Garden Of Eden” is set in a minor key, which is fitting given the devilish naughtiness and sinfulness of the cut.  The production kicks ass and takes names, PERIOD.  Sleek to the nth degree, it represents some of the best work behind the boards on MAYHEM, as well as Gaga’s career as a whole. Aggressive bass programming, hard-nosed, nasty synths, and a scintillating groove provide ample fuel for Lady Gaga’s fire. 2000s-era Gaga is alive and well, reincarnated in 2025! Stefani serves up playful, personality-filled vocals. “You’re turning green from the adrenaline / This chick’s a machine, but her friend is way more fun,” she sings in the second verse, and adds, “But you can’t hear her with the music on / So you say ‘yes’ and then the party’s on.” Woo! When she’s not showing off her playful side, Gaga’s vocals are commanding, dynamic, and powerful – namely, the pre-chorus and chorus.  After urging the DJ to “hit the lights” in the pre-chorus, she states in the chorus, “I could be your girlfriend for the weekend / You could be my boyfriend for the night / My excuse to make a bad decision / Bodies getting close under the lights.” Those bad decisions are comparable to the original sin within the Garden of Eden, at least from Lady Gaga’s perspective (“Oh, take you to the Garden of Eden / Poison apple, take a bite”).  In case there was any doubt where Stefani was taking it, in the post-chorus, she asserts, with extra syllables, “I’ll t-t-take you to the Garden of Eden.” Adding to the allure of the fantastic “Garden Of Eden”, a surefire bop from MAYHEM is great vocal layering (including a sickening vocal arrangement and production), and great vocal ad-libs from Gaga. Have sin and temptation ever been more enticing?

Appears in 🔻:

Lady Gaga, Garden Of Eden: Midnight Heat No. 70 (2025)

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6. Megan Thee Stallion, “Bigger In Texas”

MEGAN: ACT II » Hot Girl Productions LLC » 2024

Gah damn, Megan Thee Stallion! According to the Grammy-winning rapper, things are “Bigger In Texas”.  There are even moments in the song where she explicitly states this: “Everything bigger in Texas, no injections, we at the pole, no elections.” The use of “pole” is genius! “Bigger In Texas” is the opening track from her 2024 album, MEGAN: ACT II.  Megan penned “Bigger In Texas” with Taylor Banks, Joel Banks, Shawn “Source” Jarrett, Trevin Clay, and Han Yang Kingsley Wang. Bankroll Got It, Jarrett, Truckee Street, and Wang produced it.

“Bigger In Texas” features smooth, rhythmic hip-hop production.  This is the perfect fuel for Megan Thee Stallion’s fire.  Does she keep the same energy with the smooth backdrop? Well, she’s blunt and unapologetic, and we wouldn’t have Meg any other way! There is a brief instrumental introduction before Thee Stallion dives in with the chorus:

“Ayy, I’m at the top of my game, I’m who they hate

This shit come with the fame, that’s how I knew that I made it

I woke up lookin’ this good, I’m in my prime, these niggas gotta get played

If these bitches ain’t mad, I need to go harder, I can’t let ’em think we the same.”

Oh, shit! As usual, Thee Stallion serves up a compelling cadence and flow. Her rhymes are agile and bold to the nth degree.  There is no shortage of memorable rhymes.  “Ass sittin’ up like a horse’s, pretty like a portrait, mouth full of diamonds and porcelain / Bitch, I know I’m gorgeous, lil’ bitty waist, big titties, I don’t need no corset,” she raps in the first verse, and adds, “Bitch, I look good in my throwbacks, look good chubby, I look good slim, hmm / Ignorin’ the haters that speak on my body, this pussy ain’t for none of them.” Ooh-wee! There’s even more where that came from! “These hoes love to stick around and get they heart broke, I’ma bounce on a nigga like booty cheeks,” she spits in the second verse, and adds, “Slide down on the dick like new sheets / Talk him through it, let him know what to do to me.” Perhaps my favorite line references the bane of my existence – eczema: “Self-made, asexual, and I’m always on point like a decimal/ Irritatin’ these bitches like eczema, I can hang anywhere like a testicle.” Oh, and if her confidence wasn’t already through the roof, Meg makes it clear, “I’m the youngest bitch ownin’ her masters, bitches old as fuck, stuck in a deal, hmm.” All told, Megan Thee Stallion is confident as fuck on her surefire banger, “Bigger In Texas”. She ate and left nary a crumb!

Appears in 🔻:

Megan Thee Stallion, Bigger In Texas: Bangerz N Bopz No. 16 (2026) 13 Memorable, Big-Time BIG Songs (2026)

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7. TOTO, “Africa”

TOTO IV » Sony Music Entertainment » 1982

Intriguing! American rock band TOTO hit the jackpot in 1982 with the release of their Grammy-winning, multi-platinum, fourth studio album, Toto IV. While it was “Rosanna” that earned the accolades of the Recording Academy and hit number two on the pop charts, the biggest song from Toto IV, and the band’s career overall, is “Africa”. The 10^th and final track from the collective’s album was written by Dave Paich (b. 1954) and Jeff Porcaro (1954 – 1992). It is their sole song to reach number one on the Billboard Hot 100. Adding to its accolades, “Africa” was certified diamond by the Recording Industry Association of America.  However, regarding this beloved song, Porcaro opined in a Billboard oral history interview, “I didn’t think it should be on the album.” Word.

Perhaps the band was skeptical of “Africa” in certain regards, but there’s a lot to like about the song.  It benefits from a superb percussive groove at the onset.  Further constructing the musical accompaniment are cool, colorful synths and keys. Strengthening the sound are unforgettable musical riffs. Beyond the backdrop, TOTO delivers cool, calm, and collected vocals. Paich sings lead vocals in the verses, while Bobby Kimball (b. 1947) sings lead in the chorus.  The melodies are tuneful throughout.  “I know that I must do what’s right / As sure as Kilimanjaro rises like Olympus above the Serengeti,” Paich sings in the second verse, and concludes, “I seek to cure what’s deep inside / Frightened of this thing that I’ve become.” The chorus is the crème de la crème:

“It’s gonna take a lot to drag me away from you

There’s nothin’ that a hundred men or more could ever do

I bless the rains down in Africa

Gonna take some time to do the things we never had

Ooh, ooh.”

The songwriting is captivating, fittingly referencing aspects of Africa, including animals, specific places, and the hardships. Paich, who penned the lyrics, had never been to Africa.  Steve Lukather (b. 1957) states, “Dave [Paich] goes, ‘It’s just a fantasy song. People write about places they’ve never been before’”.  There is even more musical excellence to be experienced in this classic. Changing meter keeps the song engaging (some bars of two interrupt the common time in many notated versions). Also, there are some fine harmonic ideas and great use of key modulation. “Africa” is a once-in-a-lifetime record.  It caps off Toto IV marvelously and remains beloved well beyond the album and the ‘80s.

Appears in 🔻:

TOTO, Africa: Throwback Vibez No. 184 (2025)

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8. Dasha, “Austin (Boots Stop Workin’)”

What Happens Now? » Warner Records Inc. / VERSION III » 2024

You know what they say, Dasha: The best laid plans of mice and men often go awry.  In the case of “Austin (Boots Stop Workin’)”, the man seems to be the clear culprit.  She adds in the first verse of the country-pop fourth track from What Happens Now?, “Got a hunch down in my gut and snuck around the back / Empty cans and I’ll be damned, your shit was never packed.” Oh, snap! Better yet, oh, shit! Dasha penned “Austin” with Adam Wendler, Chey Rose, and producer Travis Heidelman. 

Among the most distinct features of “Austin (Boots Stop Workin’)” is the boot-stomping groove. Yee haw, cowgirl! Beyond those boots, there is superb guitar accompaniment and riffs. While “Austin” is pop enough, it can’t deny its countrified sound and vibes. Dasha delivers strong and expressive vocals. She brings plenty of attitude to the track. “Hell of a bluff, you had me believin’ / How many months did you plan on leavin’?” she asks this silly boy. There are tuneful melodies and memorable lyrics in the verses and most of all, the centerpiece, the chorus:

“Did your boots stop workin’? Did your truck break down (Truck break down)

Did you burn through money? Did your ex find out (Ex find out)

Where there’s a will, then, there’s a way, and I’m damn sure you lost it

Didn’t even say goodbye, just wish I knew what caused it

…In forty years, you’ll still be here, drunk, washed up in Austin.”

D-d-damn! “Austin (Boots Stop Workin’)” is one hell of an infectious, country-pop bop, PERIOD! Unsurprisingly, it earned her a top 20 hit (number 18 on the Billboard Hot 100) and a platinum plaque from the Recording Industry Association of America.

Appears in 🔻:

Dasha, Austin (Boots Stop Workin’): Bangerz N Bopz No. 88 (2025) 13 Mo’ Incredibly Hard-Working Songs (2025)

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9. John Lithgow, “From The Indies To The Andes In His Undies”

Singin’ In the Bathtub » Sony Music Entertainment Inc. » 1999

Well, I’m not sure, John Lithgow (b. 1945) … The esteemed actor and children’s musician captivates on “From The Indies To The Andes In His Undies”. Yes, you read the title correctly… “From The Indies To The Andes In His Undies” is the 11^th track from his 1999 children’s music album, Singin’ in the Bathtub.  Notably, Lithgow’s version is a cover.  It was originally recorded by the Indiana rural rhythm musicians Hoosier Hot Shots.  Like John’s rendition, the original is also novel – truly something else. It’s intentional, of course – not meant to be taken seriously. Ernie Burnett, Billy Faber, and Larry Royal wrote the brief cut, which clocks in under two minutes in Lithgow’s hands.

Um…yeah…. “From The Indies To The Andes In His Undies” is a striking, novel joint from the get-go. The playful, child-like sound effects add to the fun. Beyond the silly sound effects, the banjo and clarinet stand out within the musical accompaniment. Lithgow infuses plenty of personality, a must for children’s music. Of course, it is easy to do given the comical, tongue-in-cheek lyrics.  “From the Indies to the Andes in his undies / And he [Otto Zilch, apparently] never took a shave except on Mondays,” Lithgow sings, and continues, “He didn’t eat a thing but chocolate sundaes / ‘Twas a very, very daring thing to do.” Indeed.  Adding to the silliness, do you know what else Mr. Zilch did? “…He carried for a spare a pair of panties / But they didn’t fit him well; they were his auntie’s.” Lawd have mercy!  Silly to the nth degree, the unusual “From The Indies To The Andes In His Undies” is unforgettable by all means.

Appears in 🔻:

John Lithgow, From The Indies To The Andes In His Undies: Wacky Wednesday No. 8 (2026)

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10. Barry Manilow, “Copacabana (At the Copa)”

Even Now » Arista Records LLC » 1978

And so begins a Grammy-winning classic by the one-and-only Barry Manilow (Barry Alan Pincus, b. 1943)!  Manilow had an incredibly successful musical career.  His nearly six-minute song, “Copacabana (At the Copa)”, ranks among his most renowned. The eighth track from his 1978 album, Even Now, peaked at number eight on the Billboard Hot 100.  It was certified gold by the Recording Industry Association of America in 1978.  Manilow penned “Copacabana” with Bruce Sussman (b. 1949) and Jack Feldman (b. 1940). Manilow produced it with Ron Dante (b. 1945).

“Copacabana (At the Copa)” is stunning from the jump. The sickening percussive groove is an instant catalyst for foot-tapping. The rhythm is inescapable! “Copa” features a marvelous arrangement and orchestration with articulated, biting horns and dramatic, lush strings.  The rhythm section is tight throughout, intact with rhythmic guitar and a prominent bass line.  Fittingly, “Copacabana” is a mix between pop, disco, Latin, and Broadway, with its jazzy, showtune-ish vibes. Add to the musicianship an adventurous harmonic progression and key modulations. Of course, the star of the show is Barry Manilow, who gives a strong vocal performance. Although he is commanding, and you can feel his stage presence while performing, it also sounds as if he doesn’t break a sweat.  He’s cool as ice!

“His name was Rico, he wore a diamond,” Manilow sings in the second verse, and continues, “He was escorted to his chair / He saw Lola dancing there.” Lola, of course, first appeared in the first verse, excerpted earlier! Lyrically, the songwriting tells a compelling, tragic story (“She lost her youth and she lost her Tony”) inspired by both Copacabana in Rio de Janeiro, Brazil, as well as the famous Copacabana nightclub in New York City. The chorus is the crème de la crème:  

“At the Copa, Copacabana (Copa, Copacabana)

The hottest spot north of Havana (Here)

At the Copa, Copacabana (Copacabana)

Music and passion were always the fashion

At the Copa, she lost her love

(Copa, Copacabana)”

Beyond lost love and life, and Manilow’s fine pipes, background vocals play a crucial role.  Not only do they support Manilow but often take on the melody throughout this infectious pop record (“Copa, Copacabana / Copacabana / Music and passion / Always in fashion”). All told, “Copacabana (At the Copa)” is a blast.  This theatrical ‘70s record is timeless and totally unforgettable! Barry Manilow, you did your big one on this one, NO CAP!

Appears in 🔻:

Barry Manilow, Copacabana (At the Copa): Throwback Vibez No. 7 (2026)

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11. The Miracles, “Ain’t Nobody Straight in L.A.”

City Of Angels » UMG Recordings, Inc. » 1975

That is a bold statement, The Miracles.  Even more bold is the fact that “Ain’t Nobody Straight in L.A.” appeared on a mid-1970s album 😮!  Yes, this LGBTQ+-referencing record is the fourth track from City of Angels, released in 1975 album. For more context, this is the “Love Machine” album. By this time, Smokey Robinson was pursuing a solo career, meaning this was the Billy Griffin (b. 1950) era of the iconic Motown collective. Griffin and Warren “Pete” Moore wrote the progressive record while Freddie Perren produced it.

With 1970s records that address the LGBTQ+ community and themes, context is important. This was a different, far less gay era. If “Ain’t Nobody Straight in L.A.” had been recorded in the 21^st century, specifically the 2020s, we would cry foul, at least to some extent. There are more nuanced approaches to singing about same-sex relationships, etc. But, examining it in an era where there were far fewer songs about being gay, this is progressive – ahead of its time. Early on, Billy Griffin gives us facts and observations, singing with that celestial, buttery smooth tenor. “Homosexuality is a part of society,” he sings in the refrain, “I guess that they need some more variety / Freedom of expression is really the thing.” The verse is in Spanglish. It corresponds with the Latin vibes of the instrumental – that percussive groove is everything.  In the second half, The Miracles assert, “Most everyone is AC/DC (Man with man, woman with woman is the trend) / Bisexuals on a loving spree (Holding hands, they’re no longer discreet).” No, not the heavy-hitting rock band, but gay, bisexual, etc. By the end of the song, in the outro, The Miracles show support for the community:

“‘Hey, but wait a minute, man, that’s a gay bar’

‘Hey, man, ain’t nothing but gay bars in Los Angeles’

‘Yeah, Bill, that might be true though, but, uh … you know some of the finest women are in the gay bar’

‘Hey, but dig, Bob, how do you know they women?’

‘… Gay people are nice people too, man.’

‘Yeah, let’s go, man. Let’s go, man.’”

It isn’t the most nuanced conversation, but the band arrives at the right place, you might say. Beyond superb vocals, tuneful melodies, and the intriguing theme and lyrics, the music itself is delightful.  The orchestral arrangement is lush, gorgeous. Perren’s production is superb. If you somehow missed out on “Ain’t Nobody Straight in L.A.” in The Miracles’ illustrious catalog, you must check it out!

Appears in 🔻:

The Miracles, Ain’t Nobody Straight in L.A.: Throwback Vibez No. 115 (2025) Utterly Thrilling Gay Songs, Vol. 3 (2025)

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12. Aretha Franklin, “Spanish Harlem”

The Queen of Soul » Rhino Entertainment Company » 2018

In case you didn’t know, 18-time Grammy winner and musical icon Aretha Franklin (1942 – 2018) informed us, “There’s a rose in black at Spanish Harlem / A rose in black at Spanish Harlem.” Phil Spector (1939 – 2021) and Jerry Leiber (1933 – 2011) composed “Spanish Harlem”, which was originally recorded by Ben E. King (1938 – 2015).  It has been covered many times, including Franklin’s hugely successful rendition, which peaked at number two on the Billboard Hot 100. Unsurprisingly, “Spanish Harlem” almost always ‘makes the cut’ on Franklin’s greatest hits compilations.

What makes “Spanish Harlem” a surefire bop? The accompaniment, arrangement, and orchestration are sublime. “Harlem” thrives on a super funky groove constructed by drums and percussion.  The bass is big and fat, yet incredibly active. The organ adds sweetness to the mix. There is a decadent piano solo that is simple but irresistible.  Of course, being in Spanish Harlem, it is only fitting that there is a Spanish guitar! Even beyond the rhythm section, there is an orchestra that ups the ante.  The strings add lushness and expand the sound. The winds accentuate, including a dash of flute. With a top-notch performance, Aretha Franklin has ample fuel for her fire. As always, she brings superb, soul-laden vocals that never fail to command. “It’s growing in the street / Right up through the concrete / But soft, sweet, and dreamy,” she memorably sings in the first verse. In the second, she asserts, “With eyes as black as coal / That look down in his soul / It start a fire there, and then he loses control.” Franklin gets awesome support from the background vocals.  Notably, those supporting pipes shine on the centerpiece of “Spanish Harlem” – the chorus! Among the crème de la crème of Aretha Franklin’s discography, she put her foot into a song that it seems almost unfathomable to be a cover 🤯!

 

Appears in 🔻:

Aretha Franklin, Spanish Harlem: Throwback Vibez No. 129 (2025)

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13. John Prine,  “Angel From Montgomery”

John Prine » Atlantic Recording Corporation » 1971

Those are clever, thought-provoking lyrics that Grammy-winning singer-songwriter John Prine (1946 – 2020) sings in his classic, “Angel From Montgomery”. Prine continues singing in the first verse, “If dreams were lightning, and thunder were desire / This old house would have burnt down a long time ago.” Prine’s poetic skill with his pen is one of the reasons “Angel From Montgomery,” the ninth track from his 1971 self-titled album, is so special. Another deceased legendary figure in music, Arif Mardin (1932 – 2006), produced it.

“Angel From Montgomery” clocks in under four minutes. Before John Prine sings one note, the musical accompaniment catches the ear.  What instruments make the accompaniment cook? It includes warm piano (Bobby Wood), soulful organ (Bobby Emmons), folksy acoustic guitar (Prine), electric guitar (Reggie Young and Johnny Christopher), an anchoring bass line (Mike Leech), and sound drums (Gene Chrisman). Prine is the star of the show, delivering strong but relatively easy-going vocals.  His songwriting continues to pack the most meaningful punch.  Tuneful melodies help out the cause, too.  “There’s flies in the kitchen, I can hear ‘em there buzzing,” he asserts in the third verse, and adds, “And I ain’t done nothing since I woke up today.” The chorus is the crème de la crème, where the angel comes into play.  

“Make me an angel that flies from Montgomery

Make me a poster of an old rodeo

Just give me one thing that I can hold on to

To believe in this living is just a hard way to go.” 

“Angel From Montgomery” in John Prine’s hands is marvelous to the nth degree. Pitch-perfect songwriting that earns “Angel” its highest marks. Still, Prine delivers a well-rounded vocal, the melodies are tuneful, and the musical arrangement and production are top-notch, too.  You might say this song is angelic!

Appears in 🔻:

John Prine, Angel From Montgomery: Throwback Vibez No. 196 (2025)

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14. Stan Getz, “The Girl From Ipanema”

Getz / Gilberto » UMG Recordings, Inc. » 1964

Jazz tenor saxophonist Stan Getz (1927 – 1991) is renowned for “The Girl From Ipanema” which appears twice on his critically acclaimed, Grammy-winning 1964 album, Getz / Gilberto. Getz / Gilberto is one of the rare jazz albums to earn gold certification from the Recording Industry Association of America. Getz / Gilberto ultimately won the Grammy for Album of the Year, while “Girl” took home the Grammy for Record of the Year at the 7^th Annual Grammy Awards.

The original version of “The Girl From Ipanema,” which runs nearly five-and-a-half minutes long, commences the album. The second version (the single version), which runs under three minutes, appears as the ninth track. Besides Getz, “Girl” is credited to Brazilian guitarist, singer, and songwriter João Gilberto (1931 – 2019), his then-wife, Brazilian singer/songwriter Astrud Gilberto (1940 – 2023), and Brazilian composer, singer, songwriter, and multi-instrumentalist Antônio Carlos Jobim (1927 – 1994). João sings and plays guitar, Astrud sings, taking over lead duties, while Antônio plays piano.  Jobim, Norman Gimbel (1927 – 2018), and Brazilian poet and lyricist Vinícius de Moraes (1913 – 1980) wrote “The Girl From Ipanema.” Legendary jazz producer Creed Taylor (1929 – 2022) produced it.

“The Girl From Ipanema” is a star-studded, historically important jazz/bossa nova recording.  The high level of musicianship speaks for itself.  There is a cool energy that emanates from the cut. All parties leave their mark on this landmark recording. João Gilberto is the first voice heard, singing exclusively in Portuguese, while his rhythmic guitar accompaniment is vital throughout (“Olha que coisa mais linda, mais cheia de graça / É ela a menina que vem e que passa / Num doce balanço a caminho do mar”). Antônio Carlos Jobim plays modestly and tastefully on the keys, keeping it non troppo with his comping and riffs. Astrud Gilberto wows us with her refined, chilling, and easy-going vocals when she takes over the lead, singing exclusively in English: “Tall and tan and young and lovely / The girl from Ipanema goes walking / And when she passes, each one she passes goes ‘ah!’” Last but not least, the warm, radiant tenor saxophone of Stan Getz enters the mix, providing a celestial contrast.  His tone, phrasing, and everything are perfect.  Jobim gets his moment to shine with a brief but sweet piano solo built on comping.  It precedes the return of Astrud, becoming the focal point, with some decadent, tasteful soloing from Getz.  Describing the happenings of “The Girl From Ipanema” doesn’t do it justice, no matter how poetic and rich I strive to make my words.  The music speaks for itself.   This is one of the truly great records, of any musical genre, of all time.

Appears in 🔻:

Stan Getz, The Girl From Ipanema: Throwback Vibez No. 93 (2025) Girl, These Songs Are About You, Vol. 2 (2025)

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Place Songs:
Places: 3 to 5 BOPS No. 19 (2023)	‘Oh, The PLACES You’ll Go’ on These 15 Songs (2023)
A Hodgepodge of Place Songs (2025)	A Hodgepodge of Place Songs, Vol. 2 (2026)

 

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A Hodgepodge of Place Songs, Vol. 2 (2026) [📷: Brent Faulkner / The Musical Hype; Arista Records LLC, Atlantic Recording Corporation, Blues Babe Records LLC, Hot Girl Productions LLC, Human Re Sources, Interscope, RAYE, Regularisperfect, Rhino Entertainment Company, Sony Music Entertainment, The Orchard, UMG Recordings, Inc., VERSION III, Warner Records Inc., YOUNG GENIUS ACADEMY INC.; Canva AI; Gordon Johnson from Pixabay; from Unsplash]

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